| dc.description.abstract | This thesis examines the workings and functions of contemporary jam sessions in Oslo. Jam sessions first emerged in the first half of the 20th century and were events organized by musicians, for musicians. They were places in which jazz musicians could reaffirm their aesthetic standards and establish hierarchies of skill and competence. Today, however, jam sessions have taken different forms, appealing to amateurs as well as professionals, and are no longer exclusively a jazz phenomenon. Firstly, by researching contemporary jam sessions in Oslo through field observation at three different jam sessions and four semi-structured qualitative interviews, this thesis argues that jam sessions constitute important leisure music activities in the live music ecology of Oslo. Secondly, Through an understanding of music based in performance studies and the concept of musicking, this research examines the ways in which contemporary jam sessions in Oslo enable participants to develop and communicate personal identities, develop their musical craft, connect and network with other musicians, and feel a sense of belonging to a community of likeminded musicians. Thirdly, by identifying and examining the values of musical creativity, talent development, networking, cultural vibrancy, and identity, this research shows how contemporary jam sessions contribute to our understanding of leisure music activities in the live music ecology of Oslo. Lastly, this thesis argues for the continued use and strength of scenes as a conceptual tool that enable us to communicate the social powers of music and explain the copresence of people through shared cultural practices and affinities, thus arguing that the contemporary jam sessions in Oslo constitute a leisure music scene. | eng |